Spoiler alert

Billy Odell Tucker-Robinson Founder & Host — Banking With Billy Network • Intelligence Network • Data Science • AI Research • World News
Published: 2026-09-08T14:15:35.733Z • Permanent link

Eve Irvine's recent interview with film producer Lahoucine Grimich has generated significant buzz in the industry, particularly with regards to the long-standing narrative that cinema is facing an existential crisis. To better understand Grimich's perspective, we need to delve into the specifics of his argument. Grimich's remarks were made in response to the dramatic shift in viewing habits that occurred during the pandemic. Netflix's subscriber base, for instance, grew by over 37% in 2020, with the company reaching a total of 220 million subscribers worldwide. However, Grimich contends that this data point, while impressive, does not necessarily indicate a catastrophic decline in cinema's relevance.

Rather, he suggests that cinema has merely adapted to the changing landscape. The rise of streaming services has forced traditional film distributors to reevaluate their business models and explore new revenue streams. For example, AMC Theatres has begun to invest heavily in its own streaming platform, AMC+, which aims to provide a premium viewing experience for subscribers. Similarly, Warner Bros. has partnered with HBO Max to distribute its films and television shows. These developments demonstrate that the industry is not, in fact, on the brink of collapse, but rather, it is undergoing a period of transformation.

Grimich's assertion has been met with skepticism by some, who point to the continued decline of box office revenues as evidence of cinema's waning appeal. However, Grimich argues that box office data must be viewed in the context of the pandemic's unprecedented impact on the global economy. The COVID-19 pandemic has led to widespread lockdowns, border closures, and social distancing measures, which have all contributed to a significant decline in consumer spending. As the pandemic continues to affect consumer behavior, it is too early to determine the long-term impact on cinema's business model.

Grimich's remarks have significant implications for the Data Sources domain, particularly for research communities and markets focused on the film industry. Companies such as Comscore and Nielsen, which provide data and analytics services to the film industry, will need to adapt their models to account for the changing viewing habits of consumers. For instance, Comscore's 2020 report on the state of the film industry found that streaming services accounted for 35% of total box office revenue, up from 10% in 2019. As streaming continues to grow in popularity, Comscore will need to reassess its data collection methods and metrics to ensure that it is accurately capturing the evolving film industry.

Furthermore, Grimich's assertion that cinema is not facing an existential crisis has significant implications for policy environments. Governments and regulatory bodies will need to reassess their approaches to supporting the film industry, which may involve revising tax incentives, subsidies, or other forms of support. For example, the Canadian government has implemented a number of initiatives to support the film industry, including a $150 million fund to support independent filmmakers. As the industry continues to evolve, these types of initiatives will need to be reevaluated to ensure that they are effective in promoting the growth of cinema.

The debate surrounding cinema's existential crisis is not a new one, and it has been ongoing for decades. The rise of home video technology in the 1980s, for instance, led to a significant decline in box office revenues, which sparked concerns that cinema was facing an existential crisis. However, the industry ultimately adapted to the changing landscape, and box office revenues rebounded. Similarly, the rise of streaming services has led to concerns that cinema is facing an existential crisis, but Grimich's remarks suggest that this may not be the case.